1) My Truth: Women Speak Cancer is a creative nonfiction based on three years of interviews with twelve survivors told through the lens of the author's experience as a three-time, sixteen-year survivor of multiple cancers. Each chapter features a different survivor and her story; the cancers discussed include non-Hodgkin's lymphoma, Osteosarcoma, Melanoma, as well as brain, ovarian, breast, and thyroid cancers. Current definitions, treatments and statistics are included at the end of each chapter. The book ends with a comprehensive After Words, combining poetry and prose, taking the reader on a further journey of introspection on life, love, friendship, and loss. 2) The Narrative of Pathogynography is a critical exegesis using established theory in the fields of creative writing, sociology, ethnography, literature, and medicine to examine and further define the sub genre of the theoria, poiesis and praxis involved in creating women's illness narrative, or what Housel terms, pathogynography. Housel develops original terminology to define yet undiscovered spaces based on her work in My Truth: Women Speak Cancer.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-190). Also available online in ProQuest, free to University of Oregon users.

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In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences. / Media & Communication

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Yong Wai Ting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 100-103). / Abstracts in English and Chinese. / Abstract --- p.i / 論文摘要 --- p.iii / Acknowledgements --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- Literary Language Versus Film Language --- p.17 / Chapter Chapter Two: --- Cinematic Novels Versus Novelistic Cinema --- p.46 / Chapter Chapter Three: --- Film Adaptation: Transfer Versus Cinematic Reshaping --- p.73 / Work Cited --- p.100

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The aim of this thesis is to introduce, justify, and apply a better framework for analysing Sherlock Holmes, one of the most adapted characters of all time. The project works to resituate the focus of those involved in studying adaptations of Sherlock Holmes from an examination of the discrete transition of a text from page to screen, to the evolution of the character as it changes across various intertexts and through time. The purpose is to show that it is the character specifically, and not the literary text with its narrative, genric, and aesthetic qualifications, that is being adapted, and that with this in mind, studying adaptations of Sherlock Holmes should involve a study of the various processes, pressures, and mechanisms that shape, change, and define the character throughout its hundreds of screen afterlives. This thesis then analyses many of these processes with the aim of contributing to our understanding of how a character like Holmes is moulded through remediation. It takes into account how the character’s indices shift and accumulate as they are variously performed. It also considers how the mechanisms of selection function to privilege certain incarnations of the character, and how that privileging becomes a part of future readings. Finally, it addresses how reception and perception by audiences influence how the character is read, and thus how it is understood. By considering all of these aspects of the evolutionary process, and by avoiding a chronological or even a linear organization of the texts under scrutiny, this work seeks to offer a more complete answer to the question of how a single source can support a multitude of varied, even contradictory adaptations and remain relevant and interesting through the years.

Film adaptations are becoming more popular and past critics and scholars have discussed films based on dramas and novels. However, few have explored the children’s literature genre. In discussing such a topic, it takes more than just debating whether the novel or book is better. A discussion on what elements have been maintained, removed, or added in such an adaptation has to be made along with its success or failure. With this in mind, Roald Dahl’s 1964 novel, Charlie and the Chocolate Factory, and its two film adaptations will be explored along with an analysis of film adaptation theory to show that the first version of the novel succeeds and the second one fails.

Film adaptations are becoming more popular and past critics and scholars have discussed films based on dramas and novels. However, few have explored the children’s literature genre. In discussing such a topic, it takes more than just debating whether the novel or book is better. A discussion on what elements have been maintained, removed, or added in such an adaptation has to be made along with its success or failure. With this in mind, Roald Dahl’s 1964 novel, Charlie and the Chocolate Factory, and its two film adaptations will be explored along with an analysis of film adaptation theory to show that the first version of the novel succeeds and the second one fails.